New Printing to Fiber

[thefizz]

I thought I had read that the Ilford sequence for FB was 5,10 5 respectively for wash, HCA and wash to achieve archival prints. Is Ilford completely wrong on this by what appears to be a large factor?

pentaxuser

I have also wondered how Ilford can advise such a final short wash for archival processing when clearly it is not enough.

 

[hpulley]

Only a test will say for sure but I assume that Ilford tested their Washaid product and found that 5 minutes water, 10 minutes Washaid and 5 minutes water was equivalent to their normal recommendation of 60 minutes without Washaid. You can test it for yourself with a residual test.

 

[brucemuir]

I have an off brand (FotoFinesse)that is called Hypo Eliminator

It contains:

sodium sulfite
ammonium sulfite

Is this safe for fb paper? Am I correct when I assume both these chemicals should keep very well if stored reasonably?

 

[2F/2F]

Hi,

IMO, you will be better off taking the time to do a test strip on the FB, rather than starting with RC times. It does not need to be archival processed, of course, but should be developed for the full time, fixed in the first fixer bath, and rinsed for a little bit. Then, a squeegee and a hair dryer take care of dry down. It is a bit of a process, but the fact of drydown with FB paper makes it worth it IMO. Better than having to ever-so-mildly bleach a print back later because it dried down too darkly.

 

[RalphLambrecht]

I have an off brand (FotoFinesse)that is called Hypo Eliminator

It contains:

sodium sulfite
ammonium sulfite

Is this safe for fb paper? Am I correct when I assume both these chemicals should keep very well if stored reasonably?

Judging from these ingredients, safe, and not a hypo eliminator but a normal wash aid.

 

[Roger Pellegrini]

I never use test strips. I always print on fiber. If you really want to be blown away, check out the difference between multi-grade and grade paper.

 

[RalphLambrecht]

I never use test strips. I always print on fiber. If you really want to be blown away, check out the difference between multi-grade and grade paper.

Not a view many share. Most users talk about minor differences if any at all. I wonder why you used the term 'blown away'. What is the difference in your comparison?

 

[Keith Tapscott.]

Here's my process:

DEKTOL 2 1/2min
STOP 30sec
FIX1 5min (Kodak's regular fixer, not rapid)
FIX2 5min
Wash 2min
HCA 3min
Wash 30min
Dry

Is the regular Kodak fixer a non-rapid fixer with sodium thiosulphate?

 

[RalphLambrecht]

I prefer the non-hardening, ammonium-thiosulfate based rapid fixers at film strength. They fix faster, and consequently, leave less thiosulfate in the fibers. This helps in two ways with washing: no hardeners, and less thiosulfate to wash out.

The hardener will make print spotting harder (pun intended). A final wash in Sistan, by the way, will make print spotting a lot easier for the same reason.

 

[RalphLambrecht]

Sistan has been around for decades. It was originally made to protect RC papers from mirroring.

 

[brucemuir]

What is mirroring?

 

[patricia de roeck]

Instead of mucking about with test strips, try using a whole sheet of the size you're working with as the test strip, this way you get to see the full picture of where you may need to dodge or burn along with a time-guide..not really wasteful as it gives more than it takes...also you must use the same paper to test with as you're intending to print with..too many variables involved otherwise. Re flattening fibre paper...buy a couple of glazed, totally smooth floor tiles, size depending on what's the largest size you'll be printing on..glue a handle into the rough size of one of the tiles...wait til the prints are absolutely, totally dry, place tile glossy side up, the place a sheet of very high quality artists blotting paper on tile, place print face up or down, doesn't matter, place another sheet of blotting paper on top of print and finally, place the second tile, glossy side down, on top..leave for a couple of days, life off top tile with handle on and you'll have prints that will be prermanently flat ...best of all the cost just a few bucks. I press 3 or 4 prints at a time, using 500mm x 500mm tiles, nice and heavy.
Oh, and welcome to the world of fibre printing..its magical and very satisfying.
Trisha

 

[brucemuir]

What I do to flatten prints is take an empty box from the paper
nest the bottom half (smaller of the 2 halves of box) inside the top
when dry, insert prints between the 2 box pieces
put some encyclopedias (showing my age?) on top for weight

sorta like a 3 piece sheet film box idea kinda

 

[artonpaper]

Wow have you gotten a lot advice here. I have my students develop Ilford MG FB for 3 minutes. We use two fixers, 1 minute each at paper strength. Important not to over fix or use exhausted fixer. The rest of your plan sounds good, except that I insist my students test every negative, every time. Things change too much. I keep emphasizing not to rush. I have them put 1/3 sheet of paper over the most important area in the image and give three or four of those pieces different exposures and develop them all at once. I seldom have them change the f-stop since most enlarging lenses perform best 2 stops down, some one stop. I tell them to start with a #2 filter unless I say otherwise. Judge the density first then the contrast. Then think about dodging and burning. BTW I love Berrger paper when I can find it, and Foma is really nice too, but that's all a matter of taste. And one more thing, have fun.

 

[RalphLambrecht]

Silvering-out on the surface, building small mirror-like patches.

 

[brucemuir]

Thanks Ralph.

 

[RalphLambrecht]

Instead of mucking about with test strips, try using a whole sheet of the size you're working with as the test strip, this way you get to see the full picture of where you may need to dodge or burn along with a time-guide..not really wasteful as it gives more than it takes...also you must use the same paper to test with as you're intending to print with..too many variables involved otherwise. ...

Not a bad suggestion. Expanding on this idea, some printers use a darkroom meter (or experience) and print a whole sheet as close to the proper exposure as possible. Then, they make two more exposures, one over and one underexposed by a stop. From these three prints, they make an educated guess, where to dodge and burn and for how much.

What looks wasteful at first ends up to be a very efficient way of printing after gaining some experience with this system.